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American Popular Music Three Early Jazz Styles 1910-1950.

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Presentation on theme: "American Popular Music Three Early Jazz Styles 1910-1950."— Presentation transcript:

1 American Popular Music Three Early Jazz Styles 1910-1950

2 Louis Armstrong This style is called “dixieland jazz.” Some of the old time guys prefer NEW ORLEANS STYLE jazz because of politics ~ 1910-1920 Three substyles: rough, hot or sweet

3 Dixieland Jazz Instruments: Horns: trumpet (lead), clarinet, trombone Rhythm section: piano, drums, bass and guitar/or banjo (originally no piano, since they moved around)

4 “I’m not Rough” 12-bar blues Collective improvisation (rooted in African slave traditions) Everyone making up their own part at the same time simultaneously, from their head, not written down.

5 “Hotter than Hot” Obviously, the “hot” style More upbeat tempo Louis Armstrong plays trumpet and sings in “scat” style Less collective improvisation, more individual improvisation

6 Late Dixieland (1929?) “Basin Street Blues” More refined, “sweet” style Marks the transition to swing style Saxophone used instead of clarinet

7 Swing Era Jazz We still have the rhythm section: piano, bass, drums and guitar But now there are multiple instruments: 5 saxes (some “double” on clarinet) 4 trumpets 3 or 4 trombones

8 Count Basie “One O’ Clock Jump” Still utilizes the 12-bar blues format, Just no singing Less collective improvisation, things are more written out. This is called “arranging” Still have individual solos, and they’re longer The music is arranged

9 Swing Era, ~1950 “Jumpin’ at the Woodside” Extended solo improvisation Big band (17 or more players)

10 Nat King Cole African-American artist Originally a piano player, became more well known for his singing This is also about 1950— But with a return to a smaller ensemble, known as a “combo”

11 review Dixieland Jazz (hot, rough, sweet) Instruments of the Dixieland Band 1910-1920 Transition to swing era (smoother style, arranged –written out- music, and multiple instruments in the section. Swing: less collective improvisation Return to smaller groups in the late ’50s


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